quête:g digger

ZENA, the contemporary ethio-jazz duo from London comprised of producer, keyboardist

and synth player Yohan Kebede and bassist/producer Menelik, have announced the forthcoming release of their debut EP ‘TEMESGEN’; is a six-track aural odyssey that balances uncompromising experimentation with a deep sense of home, comfort, and exploration. In accordance with the duo’s mission, the project is seeking to redefine and reimagine Ethiopian music for a new generation.

Speaking on the inspiration behind the EP’s title, Yohan said: “‘TEMESGEN’ means “Thank God” in Amharic, and for me, I never heard my mother receive good news without saying it aloud. After the first couple gigs we did as ZENA, we saw how people reacted to our music and how it resonated with them. It spurred in us a feeling of overwhelming gratitude, after which the EP kind of named itself”

Born out of a mutual love and respect for the music of their shared Ethiopian heritage, ZENA are charting a new endeavour where Ethiopian musical traditions meet the future. Building upon the roots and foundations laid by legendary Ethiopian musicians Haliu Mergia, Alemayehu Eshete and Mulatu Astatke, ZENA fuses the haunting spirituality and earthiness of the ethio-jazz tradition with a modernity, sensuality and sense of disruption that is distinctly London.

Following three sold-out London headline shows, plus appearances at We Out Here Festival and on NTS Radio, ZENA arrive on Brownswood Recordings with a bold debut that’s equally at home across jazz-minded selectors and leftfield crate-diggers. The duo’s momentum is fuelled by Yohan Kebede’s landmark year with Kokoroko; from the release of Tuff Times Never Last to an NPR Tiny Desk, a North American tour, and their biggest headline show yet at O2 Academy Brixton, alongside Menelik’s quietly formidable reputation in London’s inner circle, shaped by time on the road and in the studio with Muva Of Earth and Bill Laurance.






d B1 IT'S YOU (ANTE NEH) ft. Meron T




d B1 IT'S YOU (ANTE NEH) ft. Meron T




[d] B1 IT'S YOU (ANTE NEH) [ft. Meron T]

Cory Wong's eagerly awaited new studio album, Lost In The Wonder! The collection spotlights Wong's remarkable gifts as a producer, writer, arranger, band leader, and master of modern pop craftsmanship, while of course never losing sight of his trademark guitar virtuosity. Lost In The Wonder further affirms Wong's enduring love of musical collaboration, boasting a truly eclectic range of guest artists that includes Taylor Hanson, Devon Gilfillian, Stephen Day, Cody Fry, Yam Haus, Louis Cato, Ellis, Elysia Biro, Benny Sings, Theo Katzman, and Magic City Hippies.

Recorded on December 29, 1978 at the Château d'Hérouville with Jean-Louis Rassinfosse on bass, Jeff Brillinger on drums and Phil Markowitz on piano, then mixed at Studios Davout on December 8, 1979, Two A Day has not been reissued on vinyl since 1980. This little-known but remarkable album from Chet Baker brings together instrumental and vocal tracks, all infused with the swing and emotional depth that define his finest recordings. To fully highlight the qualities of this masterful session, a high-quality remastering has been carried out, restoring the warmth and intimacy of the legendary Château d'Hérouville studios, which also hosted artists such as David Bowie and Pink Floyd. The LP edition features hot gold foil numbering.

2026 black vinyl, 2022 Abbey Road remaster, original 2012 artwork! When the mysterious masked collective calling themselves Goat first emerged in 2012, armed with an incendiary debut album 'World Music' - there was, and there still isn't, anyone else on earth quite like them. With their enticing mythology, music full of sinuous grooves and manic explosions of fuzz, Goat were outliers from the very beginning. 'World Music', received an avalanche of acclaim with critics, psych heads, outernational crate diggers etc, all left enraptured by its thunderous intensity, conjured from a singular mix of sounds from across the globe. 'World Music' is brimming with tracks now seen as 'classic' Goat live favourites. Tracks that have been wowing audiences all over the world; the afrobeat stomp of 'Disco Fever', the fuzz abuse of 'Goathead', the post-punk groove of 'Let it Bleed', the sing-along repetitive pop of 'Run to your Mama'... From the first note to the last, 'World Music' oozes with a sonic confidence rarely seen on a debut album. What Goat have is unique - they've managed to create a sound unrestrained by genre or any other boundaries. So if you haven't done so already, then it is now time you joined the Goat commune.

Killer Groove Records proudly presents the self-titled debut album by Italian cinematic funk trio Atabasca. A sonic journey where funk, psychedelia and desert groove merge into a timeless narrative suspended between rhythm and vision.


"Atabasca" marks the debut release from the cinematic funk trio, dropping March 27th on limited edition LP, CD digipack and digital formats, the latter featuring an exclusive bonus track. This is a project built on evocative imagery: each song unfolds as an open scene, an emotional landscape where listeners can step inside and write their own ending.

Lap steel, kalimba, percussion and guitars interweave with bass and drums, striking an original balance between tradition and experimentation that evokes unwritten soundtracks for worlds at once distant and familiar. The record navigates between melancholy and irony, tension and release, with a sharp focus on dynamics and sonic narrative.


Deserts, seas, imaginary villages, getaways, pursuits and collective rituals: "Atabasca" emerges as a collection of musical landscapes that unfolds through vivid, evocative imagery.

Jazz-funk, world music, afrobeat, psychedelia and the Italian Golden Age of movie soundtracks merge into a singular emotional geography: warm, analog and deeply human.

The musical journey opens with "Dune", a melancholic statement that leaves room for imagination, before igniting with "Kundela Mawedi" and its cascading lap steel over haunting vocal chants. "Paco" tips its hat to classic westerns, tracing a bandit's trajectory, while "Cameo" drifts back to childhood through minimal rumba and shimmering kalimba. The cinematic imagery continues in "Cacopoulos", a nod to Spaghetti westerns and Eli Wallach, built on raw drum patterns and distorted guitars. Intensity builds in "Khettara", where afrobeat rhythms and Middle Eastern textures intertwine, before "Hell Dorado" tears off in pursuit of the American dream's funk-fueled mirage. "Papambra" weaves hypnotic polyrhythms between kalimba and lap steel, while "Porpora" delivers a sensual, visceral tango of passion and tension. The digital edition closes with "Reprise", a sequel that stretches the album's central theme into an expansive, meditative interpretation.

The tracks were recorded in single takes, capturing the raw energy and natural atmosphere of the performance. Artistic production was handled by the trio alongside Andrea Fabrizii (digger, musician, producer and catalogue curator for CAM Sugar), while Riccardo Ricci mastered the album at Velvet Room Mastering Studio in Brighton.

Like a desert blooming within the evergreen forests of the planet's far north, a unique, alien, disruptive environment. This is the vision behind Atabasca, the project of Luca Mongia (guitars, lap steel, keyboards, vocals), Paolo Mazziotti (bass, keyboards, vocals) and Valerio Pompei (drums, percussion, vocals).

Individually active for over twenty years on both the national and international scenes, the three Italian musicians came together in 2023 to create a project that merges experience, experimentation and creative freedom. Their music is imaginative and at times dreamlike, blending the classic concept of the instrumental trio with the worlds of film scoring and sound design.

Atabasca's sound moves through jazz-funk, world and cinematic territories, weaving together afrobeat, desert and psychedelic influences into a personal and timeless language. Each piece is a scene; each sound, a fragment of a world, a journey between reality and imagination where groove, texture and organic timbre merge into a singular sonic ecosystem: a perpetually shifting balance that generates new inner landscapes.


For fans of Khruangbin, Surprise Chef and instrumental psych-funk!

Solo 500 delivers another irresistible donut that takes the form of this 2-sided celebration of afro-latin & jazz-funk classics. GSC dusts off 2 deep catalog selections here — & part of the appeal is that neither side is a played-out sample cliché. This one is for heads who already burned through the obvious joints.

Side A digs into Manu Dibango beyond the endlessly flipped “Soul Makossa” universe. “The Panther”, from the 1973 album “Africadelic”, isn’t one of his commonly sampled tracks — & that’s exactly why it hits so hard. Low-slung Afro-funk, stalking bass & suspense-building horns that feel like a break record even if they haven’t been rinsed by every golden-era producer. Selectors who chase texture over recognition will understand the power here immediately. It’s the kind of cut hip-hop heads love not because they’ve heard it before — but because they haven’t.

Side B moves into Latin jazz-funk royalty. Ray Barretto is one of the most sampled percussionists of all time, but “Together” (from the 1969 album of the same name) sits slightly off the obvious break-beat path. Instead of a clean, isolated drum loop, you get rolling congas, warm keys & a communal groove that’s been DJ-tested far more than it’s been sampled. This is the type of Barretto cut that crate-diggers pull when they want rhythm to breathe — bridging jazz floors, disco-leaning sets & hip-hop selectors who think like musicians, not beat miners.

The groove never skipped a beat. 10 years after Global Warming and 2 years after Breaking to the Bus Stop, Romain Dalmasso aka Lord Funk, remains an insatiable crate-digger driven by one thing: the dancefloor. With his 3rd LP, More Orgasms, he drops a record that literally bleeds club culture and raw funk.

This is a deeply organic album. Moving away from clinical productions, the french producer gathered a tribe of top-tier musiciansto bring a living, breathing soul to every track. It’s an in-depth study of groove where cutting-edge electronics meet organic warmth and human vibration.



The tracklist is a map of his musical heart: from the R&B anthem First Crush co-written with his partner-in-crime Guillaume Atlan (The Supermen Lovers) and ignited by Shahdo, to the sharp 80s-Blondie energy of Merryn Jeann. True to his hedonistic roots, the vinyl sleeve doubles as an adult board game. More Orgasms isn't just a release; it’s a tangible piece of club culture—a heavy, singular pressing for the diggers and the lovers who want music that has soul and sweat in its DNA.

Abdou El Omari was born in 1945 in Tafraout, south of Agadir -- a village suspended between the pink granite peaks of the Anti-Atlas and the waves of the Atlantic. A landscape already musical in itself. He grew up in the dry mountain light, surrounded by the rhythms of nature and Berber's culture. Very little is known about the man -- a veil of mystery still surrounds his life, only deepening the fascination. In the 1970s, as Morocco was transforming, Abdou El Omari shaped a sound of his own -- a visionary blend of spiritual jazz, psychedelic funk, Moroccan traditions, and early electronic experimentation. Today, his work is resurfacing, rediscovered by a new generation of listeners in search of lost horizons. This record stands among its rarest and most precious fragments. At twenty-two, he founded his first group, Les Fugitifs, which gained him local fame. Soon after, he released records and cassettes on labels such as Cléopâtre, Hassania, Boussiphone, Hilali, and his own, Al Awtar, while performing on RTM (national radio and television). He also composed for artists like Naima Samih, Laila Ghofran, and Aicha El Waad. In 1976, through the label Gam, he released his only vinyl album, Nuits d'été -- a record that would become cult decades later, reissued in 2017 by Radio Martiko. In the 1980s, his music grew quieter, more secret. He tried to recover his old tapes from the studios he had recorded in, but gradually withdrew from the scene and returned to hairdressing. A pioneer of musical fusion, he opened paths that would remain unexplored for years. He passed away in 2010, never witnessing the rediscovery of his music by diggers, bloggers, and collectors online. One day, his close friend and poet Aziz Essamadi, rescued a cardboard box from the trash -- a box containing Abdou El Omari's personal archives. It was later entrusted to Casablanca based collector Ahmed Khalil, founder of the label Dikraphone. Inside were treasures preserved by chance: demos, rehearsals, private recordings, unseen photographs -- and a stunning, almost forgotten cassette. Here, El Omari sounds bolder than ever, exploring territories where pop, cosmic disco, electric blues, and Moroccan tradition merge without boundaries. Armed with his ARP Odyssey synthesizer, hypnotic grooves, and the celestial layers of his Farfisa, he expanded the dialogue between deep roots and electronic exploration. This album is the continuation of a vision -- a music of the Moroccan future: rooted, but reaching for the unknown. Colorful, magnetic and timeless, here is music for dancing as much as for dreaming.

Fronted by Rainie Lassiter's sultry, soulful vocal and produced by Blaze, the track glides between sensuality and euphoria, capturing the exact moment house music went from underground NYC basements to global dance floors. The Deep Dish remix turned it into a worldwide anthem, topping charts in Italy and breaking into the UK Top 10, while still holding down credibility with DJs and crate- diggers alike. Its hypnotic groove, lush chords, and emotional pull have made it a staple in countless sets, and it's been sampled by artists like Four Tet & Champion who recognized its timeless pulse. Three decades later, "Hideaway" still sounds as smooth and vital asthe night it first hit the decks. This 12" features the Radio Edit, Deep Dish Remix & the Acapella.

Little is known about the origins of this project, grasping the curiosity of many 90's trance diggers, this mysterious EP was originally released in 1994 on the now defunct London based label ITP Recordings. Presenting 3 tracks that dive deep into the trancy electronics of the time, going well into the 8 minutes marker on each track the producer takes the time to allow a pallet of atmospheric qualities to gently grow and layer themselves throughout. A very unique aural signature, almost as if fractals had a sound, organised in a highly effective manner for the psychedelic electronic music inclined dancefloor.

Have Isaac Carter & Callum Asa made the most tasteful tech house EP of recent memory? The short answer is
yes....

Isaac and Callum, known for their respective club nights: OCHI and Planet People have been quietly chipping away at the coalface of underground dance music for quite some time now.

Isaac - perhaps known more widely as a regular at Circoloco & Phonox has shared bills with the likes of Moodyman, DJ Bone, Kai Alce, Laurent Garnier and Marcellus Pittmann whilst being championed by Joy Orbison, Ben UFO, Moxie, Seth Troxler, Raresh and Floating Points to name but a few. With such an impressive CV and wide ranging support, it’s wild to note that the first EP released on his own label, OCHI only came out in 2023. His star is clearly ascending with rapidity - so when we throw long term collaborator Callum Asa into the mix, things start to get really interesting. Calum has been running Planet People for the last couple of years, welcoming incredible names such as Shed, Surgeon, Willow, Ploy, Cooly G, Rroxymore and so many more. Steel sharpens steel and having been surrounded by such esteemed talent, it’s clearly rubbed off on the pair who present 4 polished, meticulously constructed, club ready masterpieces, each with their own distinct feel and an insatiable groove.

‘Feel Me’ sets the scene with a descending baseline that would eek a wiggle out of the most reluctant spectator. The twisted dub eeks out even more groove, locking in a more sinister bounce for the heads. By The time ‘Understand’ get’s into full swing, we’re already under the spell of Carter & Asa, this is the kind of roller that could go on forever and ever. The synth embellishments and washes of analog synth pull us deeper and deeper in, prepping us for the finale , ’Try You’ which simmers with deep, brooding intensity.

The magic of the dup’s appeal is that this EP will find its way into the bags of the deepest diggers and also appeal to a new generation of house fans. Elements of it are accessible , but in the right hands - the EP will open a portal to new worlds.

This is that absolute stank-face filth: hard, espionage drama-soul and tough, jazzy street-funk. Hogan, The Hawk & Dirty John Crown sounds like the soundtrack of a blaxploitation movie from the early 70s and, packed with funky fusion and smoother orchestral numbers, it is basically that.

Featuring a veritable who's who of killer library break snakes - Alan Parker, Alan Hawkshaw (under sneaky alias William Parrish), Simon Haseley, Reg Tilsley and Gordon Grant - it's not hard to see how this commands over £350 on secondary markets.

This beautifully presented reissue, part of Be With's fresh campaign with the legendary library label Music De Wolfe, is well overdue.

Recorded for De Wolfe in 1972, Hogan, The Hawk, Dirty John Crown is a fantastic start-to-finish listen. The flute-funk of Hawkshaw and Parker's opener "The Hawk" comprises driving, fuzzy, wah-wah-drizzled bell-laced breaks with synths and basslines to murder for. Up next, Haseley's "The Happening" is a carefree, rhythmic builder with strings and horns. Let's face it, it doesn't prepare us for the monster that follows...

Hawkshaw and Parker's amazing "Main Chance" is likely the reason you're here; it's a moody, beaty proto-hip-hop banger; all rolling drums and flute-laced, organ-drenched, synth-funk breaks. Just sensational - you'll want to play it again and again and again.

The cool AF "Hogan Baby" has a soft, rounded, bluesy feel - it's a lighter number and Haseley's work here sounds more than a little indebted to Burt Bacharach. It's melancholic, reflective and contains ace breaks with beautiful flutes and wistful horns. It's just gorgeous. Grant's pounding "Dirty John Crown" brilliantly conjures swirling string-swept serenity atop driving, incisive drama-funk breaks. Sublime. Hawkshaw and Parker come roaring back with the murky, creeping crime-funk of "Swarf" with killer basslines underpinning slow-mo high-class flute-funk.

Reg Tilsley enters the fray with the bright, snappy, carefree "Turnover". It's lightweight but still retains some nice orchestral movements. The brief “Tarantula” gets us back on track - from the pen and chops of Hawkshaw and Parker, are we surprised? - with the driving crime funk breaks, super clean yet brooding. Synths, sax and 'nuff guitars. YES.

Side 2 opens with the car chase swag of Haseley's dramatic, driving "Precinct". Jazzy, instrumental flute funk over great percussive breaks. We love this. Haseley's rolling "Sidewinder Version 1" is robust and exuberant with bouncy horns before a cracking Parker-Hawkshaw one-two featuring the tense "Pressure" and the deeply soulful "Call Me", a relaxed, medium-tempo organ feature. With building piano and strings Gordon Grant's excellently titled "Scorch" is as aggressive and dramatic as you'd hope. Hawkshaw and Parker's furtive flute-funk of "Digger" precede the light, melodic and romantic themes of Tilsley's "Marianne" whilst "Sidewinder Version 2", a faster iteration of Track B2 sees Haseley close out this remarkable set in bouncy, bright fashion.

The audio for Hogan, The Hawk, Dirty John Crown has been meticulously remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

black vinyl + booklet

New Zealand–born, Melbourne-based guitarist, producer, songwriter, DJ and recording artist Lance Ferguson returns with a killer follow-up: two new 7" releases from his third instalment of the acclaimed Rare Groove Spectrum series, offering a fresh set of reimagined and reworked classics. From '70s Australian jazz-funk and Latin-fusion to big-band soul and golden-era funk, Ferguson blends crate-digger sensibilities with modern studio craft.

The "Dominoes / Cold Bear" 7" features the exclusive track "Cold Bear", a fiery reinterpretation of The Gaturs' New Orleans funk classic. Sitting alongside it is a fan favourite among modern funk and soul lovers: Jungle's "Dominoes", stripped back, amped up and played live with an unpolished, authentic feel that pays homage to the essence of the original.

black vinyl

Innerhalb seiner umfangreichen Diskografie präsentiert Both Worlds eine Innovation und rückt das Werk des Pianisten in ein neues Licht. Zum ersten Mal stellt Michel Petrucciani auch eine echte Gruppe zusammen und bildet eine homogene Formation, in der seine Präsenz und Rolle nicht mehr als dominierende Elemente wahrgenommen werden. Während in vielen seiner früheren Aufnahmen das Klavier aus der Rhythmusgruppe herauszustechen schien, um es deutlich hervorzuheben, platziert Both Worlds Petrucciani bewusst innerhalb der Gruppe und macht den Pianisten zu einem integrierten Element des Ensembles, wodurch er der Anführer sein kann, ohne sich wie ein Anführer zu verhalten. Eine weitere Neuerung: Michel Petrucciani setzt die Bläser hier wie nie zuvor ein; sie treten nicht mehr nur als Solisten in Erscheinung, sondern in einem neuen Kontext, als Begleitung und Kontrapunkt. Diese Platte konnte zwar nur dank einer intensiven Zusammenarbeit zwischen Komponist und Arrangeur entstehen, doch auch die unerwartete Produktionsarbeit des Schlagzeugers Steve Gadd trug sicherlich zu ihrer Entstehung bei.

Kacem Wapalek ist seit über einem Jahrzehnt in der französischen Hip-Hop-Szene aktiv. Aber Kacem ist nicht nur Hip-Hop. Ein Künstler, der nicht zögert, sich in einem Universum zu bewegen, das auch vom Jazz und französischen Chansons geprägt ist.